by Ross King
Kraushaar Galleries (New York), 276, 359
Krieghoff, Cornelius, 18, 365; The Ice Bridge
at Longue-Pointe, 354–55
Krogh, Henrik, 16, 163–64
Kyle, Fergus, 36, 121
Lafleur family, 358
Lambert, Alice, 10, 170
Lampman, Archibald, 42–43
Lansing, Robert, 319
Lapointe, Ernest, 400
Larry Dickson’s Shack
(Thomson, 1914), 132, 138
Lassen Peak, 182–83
Laurens, Jean-Paul, 82, 167
Laurentian Landscape (Harris), 121
Laurier, Wilfrid, 15, 16, 38, 230, 419
Law, Andrew Bonar, 259
Lawson, Ernest, 103, 315
Leacock, Stephen, 43, 153
Leadbeater, C.W., Thought-Forms, 370
Leaf Pattern (Carmichael), 384
League of Nations, 319
Leaves in the Brook (MacDonald, 1918), 288
Leduc, Ozias, 397, 403
Legace, Donat, 53
Legace, Raphel, 53
Leicester City Art Gallery, 407–8
Leicester Galleries, 269, 270
Leonowens, Anna, 211
Les xx, 330
Lhote, André, 218
Liévin (France), 271–72
Liévin, March 1918 (Jackson), 272, 295
Lismer, Arthur (before wwi), 61; in Algonquin Provincial Park (1914), 129–32, 130, 131, 136; and Broadhead, 60; Carpenter and social reform, 94–96; early years and education, 60–62; at Go Home Bay (1913), 96–99; at Ontario College of Art, 94; OSA exhibition (1913), 94; and Thomson, 93; in Toronto, 62–63, 94–96
Lismer, Arthur (during wwi): in Algonquin Provincial Park (1914), 145–47; artistic and intellectual influences, 148, 165; financial difficulties (1914–15), 176; Go Home Bay murals (1915), 186–87, 188–89; in Halifax, Victoria School of Art and Design (1916–18), 210–13, 253–55, 450n3; OSA exhibition (1915), 166; on Thomson, 164, 245, 250; Thomson and Varley’s quarrel (1915), 168–69; as war artist, 255, 297–98
Lismer, Arthur (postwar life): in Algoma (1920–21), 342, 373–74; at Bon Echo Inn (1922), 385; British Empire Exhibition (1924), 392, 404; city beautification, 323; Group of Seven planning and exhibition (1920), 327–28, 331, 332; at International Exhibition of Modern Art (1927), 411; at Mazinaw Lake (1921), 370–71; on National Gallery of Canada (1921), 387; at Ontario College of Art, 310, 323–24, 358–59; painted stage sets (1920–21), 343, 369–70; and Whitman, 371
Lismer, Arthur (titles of works): The Big Rock, Bon Echo (1922), 34, 373; The Clearing, 94; Convoy in Bedford Basin (1918), 297–98; “Frank Johnston in T.T.’s Shack,” 161; Georgian Bay (1913), 99; The Guide’s Home, Algonquin (1914), 13, 148; Halifax Harbour, Time of War (1917), 254; Manet and the Post-Impressionists (1910), 84; The Picnic (1915), 188; A September Gale, Georgian Bay, 403, 406, 415; The “Skinny Dip” (1915), 188; Sunglow, 167; Tom Thomson’s
Camp (1914), 132; “Too Much Mulligan” (1915), 187, 188
Lismer, Esther (née Mawson), 62, 63, 96
Lismer, Marjorie, 96, 450n3
Little, Robert, 234, 236–37
Little Cauchon Lake (Thomson, 1916), 207–8
Little Galleries of the Photo-Secession
(New York), 314
Little Pictures by Canadian Artists
(Toronto, 1914), 123
Little Wapomeo Island, 241, 243
Lloyd George, David, 221, 263, 319, 400
A Load of Fence Posts (Harris, 1911), 45
The Lonely North (MacDonald, 1913), 91
Long, Marion, 306
Longfellow, Henry Wadsworth, 374, 385
Long Garth, 133
Lorne, Marquess of, 17–18, 391
Loudon, W.J., 93
Loveroff, Frederick, Snow on the Hillside, 408
Ludendorff, Erich, 266
Luks, George, 276, 359
Lyall, Laura Muntz, 306
Lyman, John Goodwin, 86, 103–4, 413–14
Lyme Pastures (Thomson), 117
Lysakerkretsen (Lysaker Society), 68
Måås-Fjetterström, Märta,
Woodland Scene, 16, 163–64
Macbeth Gallery (New York), 276, 304
MacCallum, Helen, 138
MacCallum, James M., 58–60, 58; in
Algoma, 280, 282, 283–84, 286–87,
342; in Algonquin Provincial Park,
206–8; as boxing fan, 160; Go Home Bay cottage, 96–97, 186–87; and Jackson, 104–5; and Lismer, 96, 186–87; and MacDonald, 186–87; Studio Building sponsor, 110, 159; and Thomson, 116–17, 137–38, 156, 178, 186–87, 251; and Varley, 263, 290; West Wind Island, 58–59,
93, 97–98; and Williamson, 115
MacDonald, J.E.H. (before wwi): in
Algonquin Provincial Park (1914), 127;
and Art Nouveau style, 74–75; Arts and Letters Club exhibition (1911), 23–24, 26, 33; in Buffalo (1913), 66, 67, 69–70;
Burk’s Falls expedition (1912), 44–46;
n Canadian art, 108, 109; career decision (1911), 24–25; character and appearance, 21; defended Jackson (1913), 107–8; design work in London (1899–1906), 21–23; early years and education, 21; at Grip Limited (1890s, 1906), 20–21, 22, 23; and Harris, compared, 40; as industrial illustrator (1911–12), 37; introduced Jackson to Harris (1913), 88–89; and MacCallum, 59; MacDowell Club exhibition (1913), 75–77; marriage and family, 21–22, 175–77; McKechnie memorial (1904), 251–52;
OSA exhibitions (1912, 1913), 49–50, 91–92; Scandinavian influence, 71–75; at Studio Building (1913), 112; waterfront paintings with Harris (1912), 36–40
MacDonald, J.E.H. (during wwi): and Ahrens (1916), 199–201; in Algoma (1918), 283–84, 286–88; murals at Go Home Bay (1915), 186–88, 189; murals for Simpsons (1916), 213; OSA exhibitions (1915, 1916), 166, 177, 183, 192–93; sought work at Victoria School of Art and Design (1916), 210–11; stroke and recovery (1917–18), 252, 282; Thomson’s memorial (1917), 251–52;
wwi, attitude towards, 177
MacDonald, J.E.H. (postwar life): in Algoma (1919), 324–25; Algoma Sketches and Pictures exhibition (1919), 308–9; British Empire Exhibition and catalogue (1924), 402, 404; on Canadian identity, 324; critics’ comments (1920), 351; Group of Seven planning (1920), 327–28, 331; as illustrator (1920s), 385, 394; later years and death (1932), 413; murals in St. Anne’s Church (1923), 396–98; on National Gallery’s support, 364; in Nova Scotia (1922), 385; at Ontario College of Art (1921), 358–59; OSA exhibition (1916),
307; postwar optimism (1919), 296–97; and Reid, 323, 456n12; in Rockies
(1924), 409; stage sets (1920), 343; and Whitman, 346, 371, 372
MacDonald, J.E.H. (titles of works): A.Y. Jackson Sketching (1915), 188; Batchawana Rapid (1921), 359; The Beaver Dam, 404, 406; Belgium (1915), 17, 177, 183, 190–91; By the River, Early Spring (1911), 23, 24, 45; Canada and the Call, 175–76; Canada’s Morning, 166; Cattle by the Creek (1918), 283; Clouds and Rock, Split Rock, 59; The Elements (1915–16), 190–91, 192–93; Forward with God (poster), 177, 183;
Frosty Morning (1912), 49; Gleams on the Hills (1921), 359; Inhabitants of Go-Home Bay, Times Past (1915 –16), 189; In the Pine Shadows, Moonlight (1911), 25; Leaves in the Brook (1918), 288; The Lonely North (1913), 91; Morning Shadows, 49; Rock and Maple (1915–16), 191, 288; Ski-ing, 49;
The Sleighing Party, 49; Snow-Bound, 166, 176; The Solemn Land (1921), 359, 364–65, 415, 421; The Tangled Garden (1915–16), 21, 191, 192–93, 201, 339–40; Tracks and Traffic (1912), 4, 39–40, 49, 50; View from Split Rock, Sunlit Water, 59; “A Whack at Dutch Art,” 283; The Wild River (1918), 288, 309, 339
MacDonald, Joan, 176
MacDonald, Thoreau, 175–77, 213, 252, 397; The Raising of Lazarus (1923), 397
MacDonald Denison, F
lora, 368
MacDowell Club exhibition
(March 1913), 75–77, 91
MacGregor, Roy, 247
Macke, August, 333
MacKinnon, John Sylvester, 392
Macknight, Dodge, 362
MacLennan, Hugh, 415
MacTavish, Newton, 202, 388
Madawaska Club, 93, 139
Maeterlinck, Maurice, 165
Maligne Lake, Jasper Park (Harris), 419
Manet and the Post-Impressionists
(London, 1910), 79, 84, 99, 107–8, 195
Manigault, Edward Middleton, 315
Manly, C.M., 46–47
Marc, Franz, 333
Marinetti, Filippo, 268, 270
Mason, A.E.W., 197n
Massey, Daniel, 27
Massey, Vincent, 23, 32, 340
Massey-Harris Company, 27, 37, 38, 251
Matisse, Henri: arabesque as impassioned impulse, 219; Le Bonheur de vivre, 219; Les Fauves, 191–92; Harmony in Red, 219; influence of, 68, 147, 148; Luxe, calme et volupté, 219; The Piano Lesson, 219;
The Red Studio, 219; at Salon d’Automne, 84; unappreciated in U.S., 78–80, 348, 381
Mattagami region (Ontario), 116
Mattawa region (Ontario), 99, 181
Maugham, Somerset, Of Human Bondage, 103
May, Mabel, 355, 403, 410
Mazinaw Lake, 368, 369
McClain, R. Watson, 343
McCrae, John, 184, 380;
“In Flanders Fields,” 256, 272
McGillivray, Florence, 214–16, 215, 222, 383; Afterglow, 216; Contentment, 216; Labrador Fishing Stage, 403
McGillivray Knowles, Elizabeth, 50, 304–6
McGillivray Knowles, Farquhar, 305, 306
McInnes, Graham, 413
McKean, G.B., 178
McKechnie, Neil, 6, 20, 21, 54,
116, 140, 244, 251–52
McLean, Tom, 5–6, 54; North Country,
91; Through the Pines, 91
McMichael Canadian Art Collection, 415
McRuer, John, 57, 169, 233
Meissonier, Ernest, 68
Melvin-Jones, Lyman, 38
Ménard, Émile-René, 214–15
Mercer, Malcolm, 194, 203
Mercier, Joseph, 319
Metropolitan Museum of Art, 382
Millet, Jean-François, 19, 373
Mills, Doris, 361, 375, 377–78, 379
Mills, Gordon, 378
Milne, David, 314–17, 315, 403;
Distorted Tree, 316
Milne, Patsy, 316
Milne, William, 228
Mississagi Forest Reserve, 51–52, 56–57
Mitchell, Roy, 165, 213, 278, 343–44, 367
Modern Canadian Painters
exhibition (1923), 403
Modern Gallery (New York), 276
Modernism, 109
Modigliani, Amedeo, 270
Moir, Kathleen, 403
Moira, Gerald E., 294
Mondrian, Piet, 147, 277, 377
Monet, Claude, 39, 217; Étretat, Gate of Aval: Fishing Boats Leaving the Harbour, 72
Mont Blanc (ship), 253
Montgomery, Lucy Maud, 318, 386–87
Montreal: art associations, 17–18,
80, 81, 88, 103, 299, 306;
newspaper reviews, 80, 103–4
Montross Gallery (New York), 314
Moonlight (Thomson, 1914), 123–24, 135
Moore, Thomas, 287
Moose Jaw, sk, 350–51
Morang, George N., 187
Morgan-Powell, Samuel, 103–4
Morning after Sleet (Jackson, 1913), 88
Morning Shadows (MacDonald), 49
Morozov, Ivan, 103
Morrice, J.W., 67, 102–3, 403, 404
Morris, Edmund, 53, 97, 304, 418–19; C
ap Tourmente, 135
Morris, Kathleen Moir, 355, 403
Morris, William, 95, 212
Mortimer-Lamb, Harold, 18, 50,
76–77, 115, 259, 299
Mowat Lodge, 127–29, 145, 179–80, 233, 237. See also Camp Mowat
Mucha, Alphonse, 14, 82
Munch, Edvard: in Berlin, 29, 30,
73–74; Frieze of Life, 30; The Scream, 183; The Sick Child, 73; at Sonderbund-Ausstellung (Cologne), 86; Starry
Night, 73–74; as Symbolist, 71
Munich Secession, 303–4
Munthe, Gerhard, 69
Murphy, Charles, 364–65, 388
Muskegon, mi, 381
Muskoka region (Ontario), 23,
24, 44–46, 98, 169, 283, 374
Nabis, 162, 192, 303
Nantel, Arthur, 173, 174
Nash, Paul, 256–57, 268, 269–70,
280, 312, 349; Void, 272
National Arts Club (New York), 347
Nationalgalerie (Berlin), 28, 33
National Gallery of Canada: acquisitions policy, 134–36, 364–65, 387–88; Arts and Letters Club purchases, 25; Autumn in Picardy (Jackson, 1912), 105–6; British Empire Exhibition controversy (1923), 391–93; displaced by Parliament (1916), 186; Group of Seven controversy (1922), 387–90; Group of Seven holdings, 328, 341–42, 364–65; Harris’s complaints,
134–36; Johnston’s works at, 353; Moonlight (Thomson, 1914), 124; A Northern Night (Johnston, 1917), 285;
Old Mill, Brantford (Gordon), 223;
OSA purchases, 47, 49–50, 167–68, 201, 202; Simpson’s work at, 266; at
Victoria Memorial Museum, 106, 387
The Nativity (Varley, 1923), 398
Near Canoe Lake (Jackson), 223
Neo-Impressionism, 83, 119, 162
Nevinson, C.R.W., 83, 268, 312, 313, 349;
After a Push, 270; Paths of Glory, 270–71; Tum-tiddly-um-tum-pom-pom, 270
Newfoundland, 362–63
Newman, Peter C., 416
Newton, Lilias Torrance, 355, 356
New York City, 76
Niagara Falls, 287
Nicholas, Hilda Rix, 87
Nicol, Pegi, 410
Night, Georgian Bay (Jackson, 1913), 341
Night Before a Barrage (Varley, 1919), 310–11
Nivelle, Robert-Georges, 228
No-Conscription Fellowship, 292–93
North Camp (Seaford, England), 289–90
The North Country. See Terre sauvage (Jackson, 1913)
A Northern Lake (Thomson, 1913), 92–93
Northern Lights (Thomson, 1917), 237
A Northern Night (Johnston, 1917), 27, 285
Northern River (Thomson, 1915), 15,
163–64, 166, 167, 190, 216, 403
Northern Shore (Thomson), 163
The Northland. See Terre sauvage
(Jackson, 1913)
North Shore, Lake Superior
(Harris, 1926), 410
Norway, Romanticism movements, 69.
See also specific artists
Nova Scotia Museum of Fine Arts, 254
Nyolcak (Hungarian Group of Eight), 330
O’Brien, Lucius, 18, 19, 141, 391–92;
Among the Islands of Georgian Bay, 101; Kakabeka Falls, Kaministiquia River,
374; Sunrise on the Saguenay, 346
O’Keeffe, Georgia, 82
Old Lumber Dam, Algonquin Park
(Thomson, 1912), 6
Old Lyme, ct, 117
Old Walt (Bon Echo Rock), 368, 369, 371
Olympic, RMS, 298
Ontario, Government of, 23, 43, 47,
49–50, 92–93, 94
Ontario College of Art, 10, 94,
210, 265, 321, 358–59
Ontario Society of Artists: annual
exhibitions, 46, 47–50, 88, 89–92, 123–24,
166–68, 192–96, 201, 224, 264–65, 275, 304–8, 309; Canadian Art Club, 304; discriminated against women, 306; MacDonald and Johnston on executive, 328; promoted Canadian war artists, 265
Ontario Temperance Act, 238
Order of the White Feather, 197
“Out-Side Inn,” 208
Outskirts of Toronto (Harris, 1918),
279–80, 307
Owen, Wilfred, 272, 292
Oxley, J. Macdonald, 42, 55, 113, 183
Oxtongue River, 155, 163
Painters Eleven, 414, 420
Painters of Snow exhibition (1914), 167
Painting by Contemporary German
Artists (Art Institute, 1907), 82
Pan-American Exhibition of Contemporary Painting (Baltimore, 1931), 410
Pankhurst, Emmeline, 199
Papineau, Talbot, 318–19
Paris Peace Conference, 319
Parry Sound, 137–38
Parry Sound Harbour (Thomson, 1914), 137–38
Patinir, Joachim, 62; Landscape with
St. John the Baptist Preaching, 264; Landscape with the Flight into Egypt,
264; St. Christopher Bearing the
Christ Child, 264
Patricia, Princess, 91
Paysage embrumé (Misty Landscape) (Jackson, 1908), 83
Pen and Pencil Club, 306
Pennsylvania Academy of the Fine
Arts (Philadelphia), 161
Petawawa Gorges (Thomson, 1914), 210
Petawawa Gorges, Night (Thomson, 1916), 11
Petawawa River, 132, 209–10
Phelps, Arthur, 396
Phillips, Claude, 406
Phillips, Frank, 44
Phillips, Trixie, 34
Phillips, Walter J., 365
Picasso, Pablo, 78, 86, 109, 147–48,
297, 303, 334
The Picnic (Lismer, 1915), 188
Pierce, George, 318
Pierce, Lorne, Our Canadian
Literature, 393–94
Pilkey, P.T., 245
Pilot, Robert, 327, 338, 342
Pine Trees at Sunset (Thomson), 415
Plewman, Charles, 245, 247
The Pointers (Pageant of the North)
(Thomson, 1915), 24, 223–24
Pointillism, 162, 223
Pont-Aven School, 189
Portrait of Vincent Massey
(Varley, 1920), 32, 340–41, 403
Post-Impressionism: Ahrens on, 193–94; colour and emotion, 370; defined, 217; Doré exhibition, 267–68; Hind on, 409; hostility towards, 79–80, 103–4, 192; influence of, 163, 349; McGillivray and, 215; unappreciated in U.S., 381–82
Post-Impressionist and Futurist